This is the best cinematic universe currently going on besides the Monsterverse. Going to be sad sending off the Warren cases, but it's been 7 or so films at this point, I think it's time for James Wan to kick start a new horror franchise for the 2020's.
This is one of a handful of Disney sequels that actually surpasses the original. That's not saying much, though.
"For me, Godzilla represents our need to look outside ourselves, for me as a person opening up my horizon and realizing that there's hope in nature, and nature gives us the option to do the right thing at all turns, and it's up to us to follow it's voice, and to listen to something bigger than ourselves, listen to God, whatever that means to each one of us."
"If you want to look at Godzilla from, a strictly entertainment value, you can, that's great. It's like, if you want to swim in the shallow end of the pool, that's fine. If you want to go in to the deeper end of the pool and really peel back his layers, and look at him as a mythological figure, it only makes him that much cooler."
This is the Batman v Superman of Kaiju films, and I mean that in the best way possible. I want to autistically rant about this movie's reception later.
With Chappelle and Burr coming out against all the bullshit going on with the world right now, it's quite refreshing. Plenty of good jokes this time around, Burr's special from last year wasn't the greatest, but the vulgarity and timing this time around was much better.
Whenever someone tries to give Stuckmann any modicum of credibility, just show them this disaster of a film. I've seen middle schoolers make better shit than this.
If you paid for a ticket for this, you're the problem.
Made it fifty minutes in before I shut this pathetic crap off. Russo brother plays a gay guy for some reason? Hulk is a shell of his former self and he dabs? What the hell is this? Might try to finish the rest later and write more but hell, this was boring (and tedious) above all else. This was about as frustrating to sit through as that The Dark Tower film a few years ago. I've sat through fifteen of these cashgrabs and I still don't care about any of these characters. At this point, I'm here for the memes. At least it's not as awful as Thor Ragnarok.
These films are the ultimate pleb filter. How you can watch the last 30 minutes to this and not think it's the most amazing finale you've ever seen in a feature film is beyond me.
I'm glad this show is going to expose more people as to what happened at Chernobyl and why it was one of the greatest fuck ups in human history, making 18+ miles in a circle radius completely uninhabitable. The show does a great job creating shocks and presenting it in a dramatic fashion. Despite one or two things that are fabricated for the sake of showmanship or turning elongated events into concise ones, the show doesn't tarnish anything that happened and paints a very disturbing picture that hopefully illustrates to new audiences why the event was so tragic. This is extremely good work and I hope even more mini series' come out in it's wake.
Also, I liked Superhero Movie, so I was here first.
Alright, after seeing it 7 times now, I can definitively say this is one of the best movies I've ever seen and probably the best monster movie ever created. I absolutely love every single thing about this movie. No complaints from me on any level, from the characters, the music, the performances, the visual effects, Evangelion inspired shot choices, the editing, bright color palettes, fucking everything. I can't get enough of this masterpiece. I really can't. I keep watching little parts of it on a daily basis.
I actually tear up now when I see Lt. Hank Marlow return home to his family. Such a sweet moment.
10/10 everything. I don't know how the Monsterverse cinematic movies can impress any further. They've raised the bar so high up now.
Watched it this time with my grandmother... yeah, really. To my surprise and amusement, she liked it a lot. After going on a personal marathon watching the later Saw movies, it's almost jarring how tame James Wan and Leigh Whannel's original is in comparison. Hardly any gore is shown and anything extreme is kept cut away or tastefully presented. This low budget endeavor relies a lot on the writing and fast editing from Kevin Greutert. It's already a classic, so I don't need to explain any details or make a recommendation. I remember my parents walked out of the theater, originally, in complete shock at the twist that came way out of left field. As giddy as I get at the sight of gratuitous and silly hardcore violence, I love how restrained and accessible the one that started it all is. Bring on Aquaman.
This movie... is now 20 years old... fuck, I feel old. Feels like just yesterday I was watching the DVD's for the classic Pokémon movies, I mean, before they got rid of Misty and Brock. I've since seen this movie on the big screen, watched Pokémon GO get released, and now a live action Pikachu movie go into production. The memories I've had with 4Kids, Pokémon, and Yu-Gi-Oh! are experiences I will never forget. I stopped watching after the fifth movie and 4Kids stopped dubbing, but I still look back on this with a fondness. I may grow up and mature, but I'll always hold a little place in my heart for this series. It's so weird now to refer to these movies as classic or more than ten years old, let alone twenty.
Decent little short, but the jackasses in my theater wouldn't shut up. Even during the moments clearly meant to tug on the heart strings, everyone was laughing. Have audiences become so used to jokes that they expect nothing but mind numbing stimuli when they go to the theater? I guess screw everyone who's wanting to make it big telling dramatic stories. Yes, there are parts of this short that are clearly humorous, but I'm talking the emotional climax. I was ready to walk out, it was so bad. Cinema is dead.
Okay, I survived maybe twenty to thirty minutes before I walked out. That's the quickest I've ever bailed on a piece of shit. My tolerance level is going down sharply after the past few months of unrelenting dreck being thrown at my face. The only positive I can muster up from Breaking In, is it's a great tool for students to use in class. Every single little facet is done wrong, from the piss poor attempts at writing to lack of creativity in the direction. I've read rejected scripts in my Screenwriting class that sounded more interesting than what was approved to be shot here. Also, just a tip for producers now, and specifically Universal, if you are not even going to try creating likable characters, at least show them going out in grotesque ways. If this is a horror movie with shit characters, at least give me something else worthwhile, something I can think about on the drive home. When I see a woman getting her throat slit, and you cut away so you don't show anything, that's when I walk out.
Eh, it was fine. Appears to be like the stock "bad people in house" starter pack school project I've seen done in many others like it. The saving grace is just the couple of twists that keep it interesting, like the reveal of the family auctioning for ideal people, moreso their talents. However, a win for best screenplay? Absolutely not, I thought A Cure for Wellness did it's writing better. I compare the two because the stories are a slightly similar. I fail to see what's so amazing about this, other than Jordan Peele's direction. And no, I didn't watch expecting to hate it, nor do I hate it. It just underwhelms me a little.
Now I'm really out of stuff to say. A terribly predictable script that's held up by it's direction and score. Paco Plaza uses lots of good shots and plays with his scenes, even if what's happening doesn't advance anything. They make for good moments. An example, Verónica walking down the street, but everything's going backwards, then forwards and back. Or the trick with her walking out of bed, when she's actually standing up, is a nice transition. I've seen used in a commercial before. I just appreciate it's a visually interesting movie. The characters are likable enough that you don't want to see them picked off, but not anyone I'll be writing thesis essays about. It's your The Conjuring family again. If you happened to notice this on Netflix, it's not bad if you turn it on, but you're better off renting Lights Out or Deliver Us From Evil if you crave something more spicy.
I'm surprised this one is rated so much lower than the first. I find it better. The writers have found their footing on what they want the franchise to be, creating a genuinely interesting crime thriller, just with loads of more gore than the previous. Tobin Bell makes for an excellent character, without having to overact like other villains in the genre, but it's the twist and story that's unexpectedly fantastic. One of the better written scripts for a horror film, every element comes back in some way. This is a classic I keep coming back to every so often, the characters are fascinating to watch. The score by Charlie Clouser is chilling and classic, completing the haunting tone. On top of which, I love the color palette of dark greens David A. Armstrong and Darren Lynn Bousman chose for this one. Each film seems to have it's own colors. The first had a blue and white scheme, the third a more brown and orange, the fourth and blue and red, and so on. It's oddly deliciously appetizing, in it's dirtiness. If you somehow haven't checked this out, you should. It's much more than what you would expect.
"Because I need to get off this island, to solve the Map No Man Can Read. Lucky I'm a woman."
This is an actual line of dialogue.
Quentin Tarantino Presents
A Lamer Version of The Texas Chainsaw Massacre Remake
Meh, I'm conflicted. The music is surprisingly great, and it takes itself a great deal seriously, there's a section in the final act you may get emotional at. Eli Roth has an eye for visuals, and effectively builds tension, but there's not much going on that I really cared about. If you're just looking for some gore and fun, you'll get it. Quentin Tarantino, Eli Roth, and Robert Rodriguez all love this kind of shit, and I do too, but man, the characters needed work. Lack of anything going on in the second act. The only amusing segments are at beginning, and last half hour. I find it hysterical, though, Roth considered this his Kill Bill, being presented in two volumes. Will I watch part two? Probably. I'm a sucker for their shit. The Green Inferno, here I come.
This movie wants to be The Texas Chain Saw Massacre and humans rights documentary at the same time, resulting in a tone confused mix of emotions. There's not something glaringly wrong with Traffik, but following the theater exit, I just asked, "What was the point of it?" Supposedly, it's to spread awareness about human trafficking, but the way this plays out as almost of remake of the first The Texas Chain Saw Massacre, then to suddenly switch to an ultra serious dark, is a bold and interesting move, but nothing about this screams either enjoyable or informative. It's a weird hodge podge, is this a horror movie? I guess, but not a fun or, really, scary one. Is it a documentary about human trafficking? Not really, it just closes on a black text stating how many women are trafficked, right before the movie ends. I'm very conflicted on how I feel. This isn't bad, the characters are surprisingly likable, I never hated watching it, but man, it leaves a peculiar taste in your mouth.
It's funny, Mae's biggest fear established at the beginning of this movie, about untapped potential, perfectly summarizes the core problem here. Never read the book, never going to, I think this presents some interesting points about companies like Google, and the internet's invasion of our privacy, but that does not automatically make for great cinema. Ideas, in it of itself, doesn't suffice. Execution is key. We get disastrous levels of writing, televisual direction, and cringe-inducing performances, all take center stage in The Circle.
Was disappointing. Had the production value of a big-budget television movie, but somehow, this was released in theaters, during the 3-D gimmick era of 2009. Only saving grace are the deaths, but you get the same creative shit from the Friday the 13th series. Just don't bother.
I'M GOING TO BUY ALL THE TOYS RIGHT NOW, DON'T CARE IF IT MAKES ME LOOK LIKE A LOSER. THIS MOVIE IS SO DAMN WONDERFUL, I'M AT LOSS FOR IT'S MONUMENTOUS GLORY. THIS IS THE BLOCKBUSTER EVENT OF THE SUMMER, SCREW INFINITY WAR. SEE A NON-STOP BARRAGE OF INSANE MONSTER ON MONSTER ACTION. THE AGE OF KAIJU TAKING OVER HOLLYWOOD IS NOW.
I'm really struggling to give this film a higher score. It's excellently done, the slow tension is magnificent, the music is memorable, and Jason Clarke is one of my new favorite actors. John Curran nails the slow-burn vibe I crave. My chest was heavy the minute the car flipped into the water, up 'til the end titles. The 1970's production design, layering on top the acting from the entire cast is terrific. It's not an epic like JFK, that leaves the audience questioning the events long after they've left the theater, but it gets the job done. I think the one set-back I feel with Chappaquiddick is length. What brilliant presentation we're given is undercut by a short story. Some of you could say that's good, I loved what was done and just wanted more, but I seriously think the run-time hurts my overall satisfaction. Just twenty minutes more could bump this up. I still love what was done, ignoring this personal qualm. The sense of loss and personal connection to Ted Kennedy you feel throughout the film is exquisite. Definitely check it out, just expect a short, but good story.
A Cure For Wellness but not AS riveting... or striking. The camera-work is great, all the shots are made to look like they're recorded by a guy hiding from faraway or from a security camera. A couple creepy ideas, held back by derivative script and monstrously lackluster third act; just nothing too special to become a modern classic. However, certainly worth checking over other trash-fires out now.
How dare they disrespect the late Bill Paxton by titling the movie... Game Over, Man! It doesn't even make sense in context of the script, there are no references to Aliens in this. Makes me sick, we're so desperate for nostalgia bait, we're resorting to quotes from much better films. Count me out. Netflix is the new platform for straight-to-video movies. Very fitting given the level of quality being dumped onto it. There's a scene where a man eats another man's hairy ass, right on-screen, and I just felt so dirty, that I was watching it.
GnomeBusters
Gnome With The Wind
The Invisible Gnome
Gnome Night
12 Angry Gnomes
Star Trek IV: The Voyage Gnome
The Silence Of The Gnomes
Gnome And See
Gnome Alone
Only Gnome Forgives
Gnomes Of New York
Running With The Gnomes
RoboGnome
Gnomerise Kingdom
Mission Impossible: Gnome Protocal
Gnome Torino
Gnome Of Steel
Shin Gnomezilla
Pirates Of The Caribbean: Dead Gnome's Chest
Gnome: A Star Wars Story
The Lego Gnome Movie
Lara Croft Gnome Raider
How The Gnome Stole Christmas
Gnome In The Shell
The Gnome Who Leapt Through Time
Neon Gnomesis Evangelion
And just simply... The Gnome Movie.
I guess I forgot to log this one, I don't know why I didn't before. Just a few QUICK thoughts, Peter Rabbit is a strangely decent children's movie that touches on a few bases that the adult-friendly The LEGO Movie harnesses, and manages to secure a jolly little ride. Plenty of fourth-wall breaks, hilariously edited action montages, courtesy of Peter Menzies Jr., ironic jokes, and some glorious comedic timing. Domhnall Gleeson is quickly becoming one of my most favorite Irish actors, and the very second he comes on-screen, he steals the whole movie. The picture starts off slow and imitative, but Gleeson's charming and wild performance makes the feature a worthwhile price of admission. I wouldn't go full-price showing, but a Tuesday discount or MoviePass entrance will be sure to give you a number of good laughs. Very surprised about this one. If you were predicting Sony to treat the property akin to their hideous live-action The Smurfs adaptations, you will be surprised too.
You know that thing people do when they re-watch a movie to test if it was the initial hype or bias blinding them from objective deconstructing? Well, re-watching Mary and the Witch's Flower did the opposite, it confirmed my hype. My rating is actually going up to my perfect-tier. I had tears in my eyes during the credits. Any film that can do that automatically gets five stars, because that is so hard to do to me. I don't like to think I'm cynical towards movies, but at the same time, I think movies have to earn their emotional pay-offs, I hate being cheated. I don't at all feel cheated with Mary. I had minor problems with the script the first viewing, but on a second-view, I don't have those problems anymore. I absolutely adore this movie, I hope more people can see this. Because this was a Fathom Events, we got a sneak-preview after the movie showing concept art for Studio Ponoc's next movie. I'm so happy the movie was a success to further their studio along.
Not one scene lasts more than two minutes. I started timing it, like I got a calculator out and starting counting the amount of time each scene had. As someone who's becoming a professional editor, this movie offends me. This is beyond embarrassing. This is a marvel. It needs to be shown in film and editing classes on what not to do. You could study this. Sony's lucky they had Jumanji last year. I almost want them to fail after this pile of predictable, formulaic, mediocre, bland, and sensory-raping trash. I started laughing my ass off at one part where Matthew McConaughey's dialogue didn't match his lips at all. I had to take frequent breaks every ten minutes just so I could stomach this hour and a half disaster. Like, just, fuck this movie and everyone who edited it.
